Photos 9

I think this one creates a rhythm in both the cars and the trees which creates an interesting point for your eye to go. It almost pulls you into the vanishing point of the image. I tried to use this rhythm to point to this area of the screen. I think the brightness of the right side of the image also helps the eye go towards the right side.

I like this image because I think it creates a rhythm of color and also the lines in the rocks. This pulls your eye into the center of the screen where the waterfall is. The brightness of the waterfall also draws you into the center of the screen because of the contrast in color with the rest of the image.

I think this one is interesting because the road, sky, and car all point to a particular point on the left side of the image. The variation of color pulls us into that particular point because they all almost look like arrows to me. It's almost a rhythm of arrows going into the left of the screen.

One Shot Event - Reflection

NAME: Jase Van Meeteren

DATE: October 25, 2016

FILM: One shot event

DP: Jase Van Meeteren

TMA 285 DIRECTOR’S REFLECTION

Reflect on how your film turned out. Have the courage to evaluate your work not only with a self-congratulatory eye, but also with a critical eye. Step back; pretend the film wasn't made by you. Be exacting. Be demanding. Don't let yourself off the hook. Be completely honest about your performance.

- Turn in a hard copy of this statement the next class session after your film screens

- Upload the statement to Learning Suite the day after your film screens

- Post this to your blog with your film the day after your film screens

Overall response (2-3 paragraphs):

In 2-3 paragraphs, write an overall response to your film: Were you successful at achieving what you set out to achieve? What are you proud of? What would you do differently if you could remake this piece? What did you learn? 

I really noticed this time how my engagement went from tentative to less tentative through the film. I think I started out getting everything I was supposed to be getting at the beginning of the film. However, halfway through I think I sopped concentrating when my focus stopped working. I stopped getting all the good angles I wanted so that was disappointing to see. I do think towards the end I was able to get some good stuff as I tried to run around Hope to get some shots of her face and husband at the end.

         I think I was actually pretty successful at what I was doing. I just wish I had gotten more interesting shots during the actual filming. I think I was successful in showing the mundane process of Hope and contrasting it with how bored her husband was. I think I’m proud of how the narrative progressed and turned out. I just think if I had more interesting angles the entire one shot would have been more interesting.

Briefly answer the following:

What, specifically, did you want to communicate? Were you successful? Why? Why not?

I wanted to show how mundane life can be. I think it was pretty successful. I think it worked because we went from watching Hope do all this boring work, to watching her husband do nothing but watch TV

How, specifically, did you try to say this? What visual elements, techniques, etc. did you use?

I tried to introduce Hope in a nice way by starting on the portrait of herself. I tried to catch her dialog to understand her more and how boring the process was. I tried to hold no things that were a little more boring (I don’t necessarily think that worked but that was my thought.) Then the reveal of her husband at the end.

What did you learn about storytelling:

I learned that if you are going to have a reveal, you should throw in some hint at the beginning. I should have shown Kyler really quick before hope went to do laundry.

Working with actors and getting performance:

I didn’t really work with actors this time but I did learn that you should keep the camera going because you might get something good they say.

Blocking — camera and actors:

I learned that to keep a one shot interesting, the camera should constantly be looking for the interesting. You should be actively searching for a better composition and shot every second.

Visuals — composition, framing, visual elements:

I learned that you need to see a person’s face more to really connect with them. Especially when they are using dialog. I also learned how important it is to get light into an area to orient the audience, mine was way to dark.

Design & Art Direction:  

Use what you have around you and you can get something good. I used the photos on the wall of the location to establish a character a little bit.

The Production Process — collaboration with crew, the logistics of making this piece:

The logistics were pretty standard. There wasn’t much to do besides hit record. Though I do wish I had rehearsed just with the location to see where I wanted to stand with the camera.

What was it like to watch your film with an audience? Did they understand it? Miss the point? Why did they respond the way they did?  

I was actually surprised because it seemed like most people got it. I think there were parts when they were bored or disoriented but that was because I didn’t have enough light going into the frame. Or because I held on an uninteresting thing instead of following action and allowing the camera to go with it.

Other observations:

 https://www.youtube.com/watch?v=lE8XbWr1uWc

One shot of an event - Statement of intent

Directors statement of intent

Jase Van Meeteren

One shot of an event

1.     What is the story of this scene in two or three sentences? In other words, what happens in the scene?

Someone takes their laundry out of their washer and puts it into the dryer. They then put clothes into the dryer and start the wash. They fold clothes at the end.

2.     What is purpose of this scene in the larger story? (Or, if there is not a larger story, invent the purpose of this scene.)

The purpose of the scene is to communicate how laundry takes forever to do.

3.     What is the emotion I want to communicate?

I want to communicate a bored and tedious process of doing laundry.

4.     Why is this scene personal to me? What previous personal experiences does it remind me of? Why do I need to make this scene?

Right now I feel like I am sort of in a rut in my life because I’m just always doing the same thing over and over again. Laundry is one of those things that we feel always needs to be done, but never really gets done beause we just end up doing it again. That’s why I think doing laundry fits what I want to film.

5.     What, specifically, must the audience understand narratively and feel at the end of this scene? How do you intend to make sure this will happen?

I want them to feel like the process never really gets done. Like they have to continue doing the process forever and ever. So through the whole thing, when it seems like someone is finishing, I want them to keep going.

6.     What two visual elements (line, shape, space, tone, color, rhythm, movement) will you use to help communicate the emotion of the scene?

I want to bounce back and forth between flat and deep space. When it seems like something is about to happen, I want it to be deep. When it suddenly stops, I want to be flat. I also want to keep the colors pretty flat and not bold.

7.     What are some potential obstacles to creating a successful scene? How can you be prepared to overcome these?

Location could be a huge issue here. Not a lot of laundry rooms are deep but I think I need to find one that could be. I also see trying to control colors as an issue because it could be really hard to get those right.

NAME: Jase Van Meeteren

DATE: October 17, 2016

PROJECT #3 BEAT LIST

After writing your Director's Statement of Intent, but before shooting, create a Beat List for your One Take film. Like a shot list, the Beat List will include the moments you are hoping to capture in your one take. To create the Beat List, do the following:

1. Visualize the event unfolding in your mind as you answer these questions:

a) Where is the action taking place? How will we know that?

It is taking place in an apartment. I want to know that by sweeping across some family photos.

b) How will the action unfold? In other words, what are "beats" of the action? 

I want to start out with the subject picking up laundry. He goes to the laundry room and then starts to put it in the washer. He puts wet clothes in the dryer and dry clothes in the basket. He goes back to his room and then folds clothing. He then goes back to the washer and dryer, repeats the process. He takes a breath in his boredom and then we end on the washing machine.

c) Who is involved in this event?

A friend, Kyler is involved in the event.

d) Where is the drama in the event? Is it between competitors? Are there spectators? Is there some kind of physical risk?

The drama comes from the repetition. It’s a sad thing that just keeps happening over and over and there is no way out. There aren’t any spectators, just the audience. The risk is just in the fact that he can’t get out of the situation.

2. Decide how you will communicate the above information to the audience in terms of beats or points of focus. In other words, what specific images/subjects does the audience need to see to:

a) understand what's happening;

Images of the family in the house, images of the laundry being picked up, taken to the washer, and put inside the washer and dryer. Then we need to see the folding.

b) connect with the people involved;

We really need to see the face as much as possible.

c) grasp, and feel, the drama.

Towards the end we need to make sure the images match the first so it feels more impactful and boring.

3. Decide where the camera will need to move in order to capture these images.

For the most part the camera needs to sort of orbit around the subject.

4. Create a list of the above beats and images in the order you think they will occur. (Don't move past each beat too quickly--give the audience time to process the information!) For each beat/image, include this information:

a) The subject of the beat (what/who are we looking at?)

b) The why. Why is each beat important? What is the purpose of the shot in terms of story, drama, character? What impact will it have on the viewer? 

c) Include: 1) The type of shot (W, M, CU, ECU, etc.); 2) the angle and type (High, Low, OTS, POV, etc.); 3) any visual element(s) you'd lke to take advantage of in the location (Flat or Deep Space, Horizontal/Vertical/Diagonal Line, Warm or Cool colors, etc.) However, remember that you are not to manipulate this event by giving direction, assigning wardrobe, production designing, etc.. 

Images of family a) photos are the subject

b) it helps us understand where we are and the character we are dealing with.

c) it’s a level close up with flat space and flat neutral colors.

Picking up the laundry a) laundry is the subject

b) this one shows us what he is doing exactly.

c) this is a medium close high angle shot with neutral colors.

Carrying the Laundry a) the man is the subject

b) this adds interest by saying he is going somewhere.

c) this is a OTS medium shot that has deeper space.

Putting laundry in basket and transferring laundry a) the subject is the laundry

b) this shows the reason behind what he was doing

c) this is a wider shot that is flat in the laundry room as we find out he is doing something boring.

Walking back to room a) the subject is the man

b) now that he is leaving he might be doing something interesting, so the traveling gives us hope of something happening.

c) this is a medium of the man’s face walking back with deep space.

Folding clothes a) the subject is the man

b) we are stuck in his room again, it’s boring

c) this is a wider shot that is flat.

Goes back to the laundry room a) The man is the subject

b) he’s not doing anything fun, it’s boring.

c) try to keep it flatter this time, nothing fun is going to happen.

5. Review your Beat List and make sure it will tell the story you want to tell. This will be your first draft.

HINT: To improve your project, refine your Beat List. After arriving at the location, observe the action before shooting. Check it against your Beat List. Does the action unfold as you expected? Is something more interesting than you expected happening? Can you incorporate it into your approach? Revise your Beat List. Visualize it carefully before you begin to shoot.

Submit a hard copy of this assignment twelve days before your film screens in class. Upload to Learning Suite twelve days before your film screens in class.